Kid from Kokomo (Warner Bros. Pressbook, 1939)

built for sAUGHS by WARNER BROS.

TELL EM THEY'LL LAUGH AND HOW!

vor’.
"PAT O'BRIEN

A two-timing Broadway phoney...a gyp off the old block!

"WAYNE MORRIS

Two-fisted Kid Galahad with a one-track mind...he wants his mama!

| spor.
OAN BLONDELL

Bubble-dancing was her career... ’til Fate stuck a pin in it!

poll,
"MAY ROBSON

Shoplifting Sadie ... a heart of gold and a sleeve full of silver!

if spor,
ANE WYMAN

She’s got Wayne’s kisses .. . but his heart belongs to mama!

sPUor
"STANLEY FIELDS

As Muscles Malone...and funnier than he was in ‘Blackwell’s Island’!

ALL fon FUN Ff “KID KOKOMO

MAXI
E ROSENBLOOM . SIDNEY TOLER . Directed by LEWIS SEILER
Presented by WARNER BROS.

Screen Play by Jerr
Original Story by

y Wald and Richard Macaulay °

Dalton Trumbo « A From an

Country of origin U.S. A. Copyright 1939 Vitagraph, Inc. All rights reserved. Copyright is waived to magazines and newspapers, First National Picture

«yA THE WORLD THAT A ag
grt! inter And Here lt Py

They call me Kid Galahad.
What do they call you?

, Lots of things,
sonny, lots of things!

From an Original
Story by Dalton
Trumbo °* A First
National Picture

Screen Play by
Jerry Wald and
Richard Macaulay

Ps SHA ROE

Mat 114
8/2 inches (118 lines) — I5c

with

PAT O’BRIEN- WAYNE MORRIS-JOAN BLONDELL

MAY ROBSON - JANE WYMAN - STANLEY FIELDS
SAXIE ROSENBLOOM SIDNEY TOLER *Directed by LEWIS SEILER- Presented by WARNER BROS.

Screen Play by Jerry Wald and AU From an Original Story by Dalton Trumbo
Richard Macaulay A First National Picture

Mat 219 — 4% inches x 2 cols. (134 lines) — 30c

oe a

They found Wayne in §
the country...and boy, *
did they go to town!

Pat made him a champ
Love made him a chump!

Challengers for the
laff- weight champ-
ionship of the world!

PAT O'BRIEN
WAYNE MORRIS
JOAN BLONDELL

MAY ROBSON
JANE WYMAN
STANLEY FIELDS

MAXIE ROSENBLOOM - SIDNEY TOLER
Directed by LEWIS SEILER
Presented by WARNER BROS.

Screen Play by Jerry Wald and Richard Macaulay*From an
Original Story by Dalton Trumbo*A First National Picture

Maggie had some-
thing up her sleeve
... that’s how they
caught her shop-
lifting!

Mat 217 — 10% inches x 2 cols. (284 lines) — 30c

AMA f°
ny cried the heavyweight box-

ing champion of the world!

It may not be art... but
it’s definitely fun!

“» PAT O'BRIEN |
WAYNE MORRIS -JOAN BLONDELL

MAY ROBSON * JANE WYMAN ° STANLEY FIELDS

MAXIE ROSENBLOOM. ¢- SIDNEY TOLER

Screen Play by Jerry Wald and Richard Macaulay ® From an Original Story by Dalton Trumbo ®@ A First National Picture

Mat 303 — 6'/ inches x 3 cols. (270 lines) — 45c

THERE’S NOTHING WRONG WITH THE WORLD THAT A GOOD HEARTY LAUGH WON'T CURE!
And Here It Is!

STANLEY FIELDS - MAXIE ROSENBLOOM * SIDNEY TOLER « Directed by LEWIS SEILER - Presented by WARNER BROS. a

Screen Play by Jerry Wald and Richard Macaulay @ From an Original Story by Dalton Trumbo @ A First National Picture

with PAT O’BRIEN N- JANE WYMAN (n>

Mat 304 — 2'% inches x 3 cols. (90 lines) — 45c

THIS AD ALSO IN TWO-COLUMN SIZE — SEE PAGE 12

boa)

PAT O’BRIEN- WAYNE MORRIS- JOAN BLONDELL

MAY ROBSON : JANE WYMAN - STANLEY FIELDS
MAXIE ROSENBLOOM SIDNEY TOLER Directed by LEWIS SEILER- Presented by WARNER BROS.

Screen Play by Jerry Wald and From an Original Story by Dalton Trumbo

Richard Macaulay WY A First National Picture

Mat 305 — 6// inches x 3 cols. (273 lines) — 45c

Cit) MAY ROBSON - JANE WYMAN - STANLEY FIELDS + MAXIE ROSENBLOOM
EA) paz SIDNEY TOLER * Directed by LEWIS SEILER + Presented by WARNER BROS.

Screen Play by Jerry Wald and Richard Macaulay ® From an Original Story by Dalton Trumbo ® A First National Picture

Mat 222 — 2% inches x 2 cols. (72 lines) — 30c

ei

Well, let up and LAUGH at
moviedom’s gayest gang!

“How can | be
Kid Galahad if |
haven't got a
mama?”

of the Year!

“Don't cry, champ,
I'll find her if you have to
fight in every town
in the U. S.!”

Screen Play by Jerry Wald and Richard Macaulay ® From an
Original Story by Dalton Trumbo © A First National Picture

Mat 112

“I'd be a mom to 6 inches (82 lines) — I5c
you, kid but it ain’t dig-
nified for a bubble
dancer.”

“They say I'ma
shoplifter. | just
find things . . . before
they’re lost!”

Warner Bros.’ laff-and-
let-laff comedy K. 0.

Ky D from
KokoMO

PAT O'BRIEN - WAYNE MORRIS
JOAN BLONDELL

MAY ROBSON - JANE WYMAN - STANLEY
FIELDS - MAXIE ROSENBLOOM - SIDNEY TOLER
Presented by WARNER BROS.

Directed by LEWIS SEILER

N\ FORGET THE |
HEADLINES!

Join the Laughing
Lines Who Are on
Their Way to See

JOAN BLONDELL 2)
WAYNE MORRIS.
"MAY ROBSON + JANE AY 9
WYMAN-STANLEY FIELDS © \

MAXIE ROSENBLOOM - SIDNEY TOLER = (3, .

Screen Play by Jetry Wald and Richard Macaulay ® From an
Original Story by Dalton Trumbo ® A First National Picture

flay

ANE
Screen Play by Jerry Wald and Richard Macaulay ® From an
Original Story by Dalton Trumbo @ A First National Picture Mat 117

4/2 inches (61 lines) — 15c

THIS AD ALSO IN TWO-
THIS AD ALSO IN ONE-COL. SIZE — SEE PAGE 10 COL. SIZE — SEE PAGE 10

Mat 215 — 13% inches x 2 cols. (288 lines) — 30c

[7]

WAYNE MORRIS

A kid from the country...
but he’s sure going to town!

PAT O’BRIEN

Just a Broadway phony
e+. a gyp off the old block!

ts = . ICH
JOAN BLONDELL MAY ROBSON JANE WYMAN STANLEY FIELDS

Bubble-dancing was her ca Shoplifting Sadie... heart of Wayne’s tootsie... but He knew his girl loved him
reer... Fate stuck apininit! gold, sleeve full of silver! his heart belongs to mama! cio She blackened his eye!

WAY AS
WA

roe EO AR: TORE

MAXIE ROSEN BLOOM J SIDN EY TOLER Screen Play by Jerry Wald and Richard Macaulay ® From an Original Story by Dalton Trumbo ®@ A First Netionol Picture

Mat 302 — 6% inches x 3 cols. (261 lines) — 45c

WAYNE

O'BRIEN - MORRIS - BLONDELL

MAY ROBSON - JANE WYMAN : STANLEY FIELDS
MAXIE ROSENBLOOM « SIDNEY TOLER - Directed by LEWIS SEILER - Presented by WARNER BROS.

Screen Play by Jerry Waid and Richard Macaulay © From on Origine! Story by Dalion Trumbo © A First Notional Picture

[8]

Mat 216 — 6% inches x 2 cols. (174 lines) — 30c

KID GALAHAD BATTLES
MANAGER OVER DANCER!

“PLL BLACK HIS OTHER EYE,”

grimly charges the champ, “if he
blackens that girl’s reputation!”

“ALL | SAID,” shouts manager,
“was that a bubble dancer should
hide nothing . . . from the press!”

IT’S SWEET
“DEY’RE ALL declares local bub-

BUMS 1” roars ble dancer, “to find

Muscles Malone, some chivalry in
ex-bad boy. “Vl these B’way lugs.”
moider ’em!”

PAT O'BRIEN
WAYNE MORRIS

JOAN BLONDELL

MAY ROBSON
JANE WYMAN
STANLEY FIELDS

MAXIE ROSENBLOOM
SIDNEY TOLER
Directed by LEWIS SEILER

Wa
screen Ploy by ee eckel
Original story PY

Mat 301 — 8 inches x 3 cols. (345 lines) — 45c

THIS AD ALSO IN FIVE-COLUMN SIZE — SEE PAGE 13

Warner Bros.’
Comedy Knockout

D from

KOKOMO

with

PAT O'BRIEN - WAYNE MORRIS
JOAN BLONDELL

MAY ROBSON - JANE WYMAN - STANLEY FIELDS

MAXIE ROSENBLOOM - SIDNEY TOLER

and Richard Macaulay « From ©

Mat 213 — 4 inches x 2 cols. (114 lines) — 30c
[94

FORGET THE
HEADLINES!

Join the Laughing
Lines Who Are on
Their Way to See

wie PAT O'BRIEN
JOAN BLONDELL
WAYNE MORRIS
»\? MAY ROBSON - JANE
\. WYMAN- STANLEY FIELDS

MAXIE ROSENBLOOM - SIDNEY TOLER
Directed by LEWIS SEILER
Presented by WARNER BROS.

c,

Screen Play by Jerry Wald and Richard Macaulay ® From an
Original Story by Dalton Trumbo @ A First National Picture

Mat 223 — 9 inches x 2 cols. (252 lines) — 30c

THIS AD ALSO IN ONE-
COL. SIZE — SEE PAGE 7

[10]

you WAR.y

Qe ORRIED

Well, let up and LAUGH at
moviedom’s gayest gang!

“How can I be
Kid Galahad if |
haven't got a
mama?”

“Don't cry, champ,
I'll find-her if you have to
fight in every town
in the U. S.!”

“!'d be a mom to
you, kid but it ain't dig-
nified for a bubble
dancer.”

“They.say I'm a
shoplifter. | just
find things .. . before
they're lost!”

Warner Bros.’ laff-and-
let-laff comedy K. 0.

KyD from‘
KoKOMO

PAT O'BRIEN - WAYNE MORRIS
| JOAN BLONDELL

MAY ROBSON - JANE WYMAN - STANLEY
FIELDS + MAXIE ROSENBLOOM - SIDNEY TOLER
Presented by WARNER BROS.
Directed by LEWIS SEILER

Mat 113
6/2 inches (91 lines) — 15c

THIS AD ALSO IN TWO-
COL. SIZE — SEE PAGE 7

PAT O'BRIEN

is as phony as a rubber pretzel
and twice as crooked!

When PEP

PAT O'BRIEN
JOAN BLONDELL

WAYNE MORRIS
MAY ROBSON

lead the laff-lineup
in the year’s comedy hit!

WAYNE MORRIS JOAN BLONDELL

is the two-fisted kid with a one- is a retired bubble-dancer...
track mind...he wants his mama! last time she retired into jail!

MAY R STANLEY FIELDS

a shoplifter with a heart of gold, is the doll Wayne likes bestin is ‘Muscles’ Malone ... and funnier
a sleeve full of silver! all the world...nextto mama! than he was in“Blackwell’s Island!”

KOKOMO

wit
JANE WYMAN - STANLEY FIELDS
MAXIE ROSENBLOOM ~ SIDNEY TOLER
Directed by LEWIS SEILER
Presented: by
WARNER BROS.

Screen Play by Jerry Wald and Richard Macavlay ® From an
Original Story by Dalton Trumbo @ A First National Picture

MAXIE ROSENBLOOM
Mat III | SIDNEY TOLER

5 inches (70 lines) — 15¢ Directed es

WARNER BROS.

an Original Story by Dalton Trumbo ® A First National Picture

PW 2k Ts Re

Mat 218 — 7'% inches x 2 cols. (202 fines) — 30c

ig oe

wih PAT O’BRIEN - WAYNE MORRIS - JOAN BLONDELL
MAY ROBSON - JANE WYMAN - STANLEY FIELDS - MAXIE ROSENBLOOM -
SIDNEY TOLER + Directed by LEWIS SEILER + Presented by WARNER BROS.

Screen Play by Jerry Wald and Richard Macaulay ® From an Original Story by Dalton Trumbo ® A First National Picture

Mat 221 — 2 inches x 2 cols. (56 lines) — 30c

The ‘KID’... Yokel boy | JOAN...a pin ended her
goes to town! bubble dance eareer!

PAT... Just a gyp off | MAY... A bottle baby
the old block! - at seventy-three!

PAT O’BRIEN- WAYNE MORRIS: JOAN BLONDELL
MAY ROBSON «+ JANE WYMAN - STANLEY FIELDS
MAXIE ROSENBLOOM + SIDNEY TOLER
Directed hy LEWIS SEILER + Presented by WARNER BROS.

Screen Play by Jerry Wald and Richard Macaulay ® From an
Original Story by Dalton Trumbo @ A First National Picture

Mat 116
3% inches (47 lines) — I5c

Official Billing
WARNER BROS. 40%,

Pictures, Inc. Presents ae A

“THE KID FROM KOKOMO” ~-.

with
PAT O'BRIEN © WAYNE MORRIS ® JOAN BLONDELL 50%,
MAY ROBSON e JANE WYMAN e STANLEY FIELDS 25%,

MAXIE ROSENBLOOM: @ SIDNEY TOLER 10%

Directed by Lewis Seiler ve

Screen Play by Jerry Wald and Richard Macaulay 3%,
From an Original Story by Dalton Trumbo V eet

A First National Picture +9,

{ 12]

WITH THE WORLD THAT A GOOD HEART
And Here It Is! :

KID from
of KOKOMO

with PA O'BRIEN ° WAYNE MORRIS: JOAN BLONDELL - may ROBSON - JANE WYMAN @

STANLEY FIELDS - MAXIE ROSENBLOOM © SIDNEY TOLER + Directed by LEWIS SEILER + Presented by WARNER BROS.

Screen Play by Jerry Wald ond Richard Mecavlay ® From an Original Story by Dolton Trumbo © A First National Picture

Mat 220 — I'/ inches x 2 cols. (40 lines) — 30c

THIS AD ALSO IN THREE-
COL. SIZE — SEE PAGE 5

One L-o-n-g LOUD Laff!

PAT O'BRIEN-JOAN BLONDELL: WAYNE MORRIS
MAY ROBSON - JANE WYMAN - STANLEY FIELDS

MAXIE ROSENBLOOM + SIDNEY TOLER
Directed by LEWIS SEILER + Presented by WARNER BROS,

Screen Play by Jerry Wald and Richard Macaulay ® From an
Original Story by Dalton Trumbo ® A First National Picture

2% inches (38 lines)

How hard can you LAUGH?
You'll know when you see

PAT O’BRIEN-WAYNE MORRIS -JOAN BLONDELL
MAY ROBSON - JANE WYMAN - STANLEY FIELDS
MAXIE ROSENBLOOM + SIDNEY TOLER
Directed by LEWIS SEILER - Presented by WARNER BROS.

Screen Play by Jerry Wald and Richard Macavlay © From an
Qriginal Story by Dalton Trumbo © A First National Picture

2 inches (26 lines)

TWO ADS ON ONE MAT
Mat 115 — 1I5c

Vitaphone Shorts

‘POLAR PALS’ for the warm-weather days. This time Porky is in the Arctic, rout-
ing singlehanded the seal trader who is out for the kill. Porky and his New England
blunderbuss v. the trader and his cannon. 4813 — Looney Tunes — 7 minutes.

LEITH STEVENS AND HIS ORCHESTRA and also Bobby Hackett's band join
in "sending" such favorites as "It Had to Be You," "They Say" and "Tea for Two."
Song solos by Nan Wynn. 4715 — Melody Master — 10 minutes.

“MECHANIX ILLUSTRATED No. 5’ continues the revelations into the field of
practical science. The fifth in this series, it features a description of the famed
“lie detector among other items. 4612 — Color Parade Series — 10 minutes.

“HAUNTED HOUSE’ — Twelve minutes of thrills and excitement in this short deal-
ing with the adventures of some youngsters as they take refuge from a storm in
a haunted house. Narration by Floyd Gibbons. 4310 — Your True Adventure Se-
ries — 12 minutes.

‘BELIEVE IT OR ELSE,’ a Technicolor satire on the famous cartoon in which a
doubting Thomas who doesn't believe what he sees on the screen is convinced that
it is all the truth even though he has to be sawed in half to be shown. 4520 —
Merrie Melody — 7 minutes.

“YOU’RE NEXT — TO CLOSING’ — Two reels of musical entertainment featur-
ing the famous comedy team of the stage and screen, Cross and Dunn, and Leota
Lane, operatic singing sister of Priscilla, Rosemary and Lola. 4027 — Broadway
Brevity — 20 minutes.

KID GALAHAD BATTLES |
MANAGER OVER DANCER

“I'LL BLACK HIS OTHER EYE, ”

grimly charges the champ, “if he
blackens that girl’s reputation!”

“ALL | SAID,” shouts manager,

“was that a bubble dancer should
hide nothing .. . from the press!”

| IT’S SWEET
“DEY’RE ALL . declares local bub-

BUMS!” — | ble dancer, “to find

Muscles Malone, some chivalry in
ex-bad boy. “T’ll these B’way lugs.”

moider ’em!”

PAT O'BRIEN
WAYNE MORRIS

JOAN BLONDELL

MAY ROBSON
JANE WYMAN
STANLEY FIELDS

MAXIE ROSENBLOOM
SIDNEY TOLER

Directed by LEWIS SEILER

Mat 501 — 13 inches x 5 cols. (950 lines) — 75c

THIS AD ALSO IN THREE-COLUMN SIZE — SEE PAGE 9

This Five-Column Ad May Be Adapted For Use As
A Tabloid News Flash Herald — See Page 21 For Details

PUBLICITY

TTT

They Make The World Happier
With 92 Minutes Of Film Fun

CO TTT

The strictly for fun cast of "The Kid From Kokomo" coming
to the Strand on Friday is headed by (top) Wayne Morris
and Pat O'Brien. (Below) Jane Wyman, May Robson and

Joan Blondell make up the feminine contingent.

All Star Laff Line Up
In ‘Kid From Kokomo’

“The Kid from Kokomo,’’
something new in the way of prize-
fight comedies, will open at the
Strand Theatre Friday. Pat
O’Brien, Wayre Morris and Joan
Blondell head the cast of the War-
ner Bros. production.

Vieing with Miss Blondell for
feminine comedy honors are May
Robson and Jane Wyman. Head-
ing as hilarious a collection of
‘‘mugg’’ comedians as has ever
supported a group of stars are
Stanley Fields, Maxie Rosenbloom,
Sidney Toler, Ed Brophy, Ward
Bond and Paul Hurst. Sleek men-
ace is represented by Morgan Con-
way.

Much of the comedy in ‘‘ The
Kid from Kokomo’’ is based on
the larcenous nature of some of
the camp followers of the sport
which a famous boxing writer used
to call ‘‘the manly art of modified
murder,’’ but the only victims of
murderous assault in this picture
are the golden rule and the king’s
English.

Engagingly amusing though al-
together unmoral is the fight man-
ager by Pat. He is entirely with-
out scruple and he not only bets
against his own fighter, Maxie
Rosenbloom, on the night the lat-
ter meets the heavyweight cham-
pion but he also sells half-interests
in his man to four different indi-
viduals. When Maxie surprisingly
flattens the champ, Pat hastily
leaves town accompanied by his
girl friend, Joan, who is a retired
bubble dancer, and his trainer,
Brophy.

In a sleepy farm village, Pat
discovers an ingenuous farm youth,
played by Wayne Morris, who is
a terrific fighter. He tries to in-
duce the youth to become a pro-
fessional fighter, but Wayne balks.
It seems he was left in a soap box
at the farm as an infant, and he
believes some day his mother will
return to look for him.

Pat gets him to leave the farm,
however, by promising to launch a
big campaign to find his mother.
And Pat does find a ‘‘mother’’ by
going to night court and picking
up a liquor-loving old kleptomaniac
who was once an actress to enact
the role. This tough old biddy,
who is played by Miss Robson,
convinces Wayne she is his long-
lost mother, and she quickly takes
advantage of the situation to lord
it over her co-conspirators and to
get control of Wayne’s money —
he’s making plenty in his quick
rise up the fistic ladder.

Some more double-crossing on
the part his amoral manager fi-
nally puts Wayne in the spot where
he is fighting the champion but
has promised Pat to lose. When
May hears about that, she reverses
the situation by informing Wayne
she’s a fake, and, knowing now he

owes nothing to Pat, he goes in
to win, which he does.

The script from which this high-
ly amusing piece was filmed was
based by the scenarists, Jerry
Wald and Richard Macaulay, on
an original story by Dalton Trum-
bo, and the production was ecap-
ably directed by Lewis Seiler.

Mat 212—30c

THE STORY (not for publi-
cation): Fight manager (Pat
O’Brien) and his girl (Joan
Blondell) taking it on the

lam, come upon powerful
farm lad (Wayne Morris)
and phenagle him into com-
ing to the big city, by telling
him theyll find his long-lost

ma for him. They turn up
with shop-lifting Maggie
(May Robson). “The Kid” is
surprised but he'll believe
anything. Then he gets a
chance at the championship
fight, also instructions to lose
it. With Maggie’s help, how-
ever, he turns the tables.

‘The Kid

From Kokomo’

Is Strictly For Mirth

Working on the principle that
a healthy dose of laughter is the
best prescription for a worried
world, ‘‘The Kid From Kokomo,’’
the new Warner Bros. production
which will open at the Strand
Theatre on Friday, is comedy from
start to finish. A fulsome guaran-
tee that this is so can be had from

Mat 104—15ce

Mat 106—15e

Mat 105—15c rr

Mat 109—15c

Just a Broadway phony. .

THE FUN CAST

PAT O'BRIEN as Billy Murphy

. a gyp off the old block.

WAYNE MORRIS as Homer Baston

Two-fisted Kid with a one-track mind ...he wants his Mama.

JOAN BLONDELL as Doris Harvey

Bubble-dancing was her career .

JANE WYMAN as Marion Bronson
She's got Wayne's kisses

MAY ROBSON as Maggie Martin
Shoplifting Sadie . .

_ STANLEY FIELDS as ‘‘Muscles’’ Malone
He knew his girl loved him. .

MAXIE ROSENBLOOM as Curley Bender
He'd do anything to turn an honest dollar...

AND

Sidney Toler as Judge Bronson
Ed Brophy as Eddie Black
Winifred Harris as Mrs. Bronson
Morgan Conway as Louie

[ 14 ]

. .. but his heart belongs to Mama.

. she blackened his eye.

Mat 101—15ec

.. ‘til Fate stuck a pin in it.

Mat 110—1l1iec

. heart of gold, sleeve full of silver.

Mat 108—15e

except work.

scanning the list of players and
the roles which they play.

Pat O’Brien, is a fight manager
and the type of lovable crook that
frequently doublecrosses himself.
Joan Blondell is his sweetheart, an
ex-bubble dancer whose bubble has
burst, and their white hope is
Wayne Morris, a husky young
blacksmith whom they decide to
groom for heavyweight champion.
Morris however, has a _one-track
mind, which is set on finding the
mother who left him on a handy
doorstep when he was an infant.
To keep him happy, they find him
a ‘‘mother,’’ in the person of a
sodden old kleptomaniac, a role
that is played to perfection by
May Robson. Other contributors
to the fun are Maxie Rosenbloom,
as the heavyweight champ, Jane
Wyman as the curvacious blonde
with whom Wayne falls in love,
Stanley Fields, Sidney Toler, Ed
Brophy and a score of others,
playing shady characters with em-
phasis decidedly on the comic side.

But the ‘‘Kid from Kokomo’?
turns the tables on them all by
turning out to be a real champ,
and foiling all their efforts to
have him lose fights when they bet
against him. He not only wins the
world heavyweight championship
but his girl and his Mama, and all
ends well.

Adapted for the sereen by
Michael Fessier, Richard Macauley
and Jerry Wald from a novel by
Dalton Trumbo, the story takes a
ylot which might have conceivably
been presented in a serious manner
and treats it with an unfailing
sense of humor. Lewis Seiler di-
rected the production.

Wayne Morris, O’Brien
Star In New Comedy

Starring Wayne Morris and Pat
O’Brien, with Joan Blondell, May
Robson and Jane. Wyman in the
leading feminine roles, Warner
Bros.’ new comedy-romance, ‘‘ The
Kid From Kokomo,’’ will open at
the Strand Theatre on Friday. A
fast-moving story of the prize ring
and its behind-the-scenes angles,
with plenty of romantic and hila-
rious touches, ‘‘The Kid From
Kokomo’? was adapted for the
sereen by Michael Fessier, Richard
Macaulay and Jerry Wald from a
novel by Dalton Trumbo. The pic-
ture was directed by Lewis Seiler
and in addition to its headliners
has a number of outstanding play-
ers in its cast, which include Maxie
Rosenbloom, Sidney Toler, Ed Bro-
phy, Clem Bevans, Ward Bond,
Stanley Fields, Ed Brophy, Wini-
fred Harris, Morgan Conway and
many other film funsters.

FN

These Scenes Tell The Whole Funny Story

COCOA TUECTE TTA UAHA THE TOENENAUGUEGNGUEGUNQuNOOOnEOLODLAGNOLAGeOGeOUEOaeauevoneneeneaetE WOUAEUUAAEAUGALUVUUUAUULUCAU CA AUeeeMe cence eee AeN Oe eAK cu eeceeaguorenetdsnouioeierstniuineeiin SCUUCTUTUCUA TOUTES AUST Ee Eeeaeeeaeeen eee

‘Slapsie’ Maxie Trains
For Beauty, Not Bout

MAY ROBSON PLAYS
A SHOPLIFTER AND
STEALS SCENES, T00

‘There ought to be a law’? on
sets where May Robson is working
that young players there should be
warned in advance of her pres-
ence.

A sign would do. It could be a
sign that would read:

“‘Danger!
here! ’’

Trouper at work

Young players might appreciate
that and they could certainly watch
her to their own advantage. She
is a real trouper.

Miss Robson plays the role of
Maggie Martin in ‘‘The Kid from
Kokomo,’’ the Warner Bros. pic-
ture opening next Friday at the
Strand Theatre. She has one big
scene, a scene only a really fine ac-
tress could be expected to handle.

Maggie stands in night court
before Sidney Toler posing as
Judge Bronson. Her grey hair
hangs over one eye and straggles
down her back. Her hat is askew.
Her eyes are rheumy and her hands
shake. She is more than slightly
drunk but she is ready to ‘‘put on
the act’’ to keep from going to
aber

She is charged with shop lifting.
She has walked off with a bath-
room scales from a drug store, ac-
cording to the charges.

““Tt’s not true, Your Honor,’’
she whines. ‘‘I was going to buy
the seales. I’ve been on a diet.’?

‘* According to the complaint,’’
says Toler, ‘‘your memory has
been faulty for ten years. You are
well known to the police as ‘Drug
Store Maggie’,’’

Maggie is immediately indig-
nant. ‘‘I resent these flat feet
giving me nicknames,’’ she sniffles.
Then with great but slightly tipsy
dignity, she adds, ‘‘It doesn’t be-
fitwaclady”

““You’re quite an actress, aren’t
you?’? asks Toler.

Miss Robson stops sniffling long
enough to swell a little with pride.

**T used to be,’’ she whimpers
and dissolves foolishly into tears.

““Cut,’? orders Director Lewis
Seiler. Then he turns to Pat
O’Brien who is ready to enter the
scene on the next ‘‘take.’’

*f And still is,’’ he adds. ‘‘One
of the greatest. Get in there, will
you, Pat, and troupe with her.’?

Not One For Censors

Joan Blondell does a bubble
dance in “The Kid from Koko-
mo,” the Warner Bros. comedy
coming to the Strand Theatre
next Friday —but don’t get us
wrong, Mr. Hays. It’s with a
fetching pair of red pajamas on.

She’s just showing Wayne Mor-
ris and Pat O’Brien how she used
to do it before she took up the
job of managing fight managers.

Gals Wail As Wayne Weds

Wayne Morris received more
than 3,000 telegrams and letters
congratulating him upon his mar-
riage to “Bubbles” Schinasi.
Among the messages, however,
were many which sounded a wist-
ful note. One young lady from
the Midwest sent 300 words over
the wire expressing her disap-
pointment at Wayne’s passing
from the eligible bachelor list.
Wayne’s latest Warner picture
is “The Kid from Kokomo.”

Anyway He’s Nervous

Slapsie Maxie Rosenbloom ar-
rived all adither on the set of
“The Kid from Kokomo,” and
Pat O’Brien inquired solicitously
into the cause of his extreme ex-
citement. “I don’t know,” Maxie
replied, “I guess I’m just what
you’d call a nervous success.”

OP

Mat 201—30c

May Robson in a motherly (?) scene from "The Kid From Kokomo."

JOAN BLONDELL HAS
WARDROBE PROBLEM
AS BUBBLE DANCER

It’s harder to say it with clothes
these days. Especially on the
screen. So, at any rate, says Joan
Blondell.

But she’s always trying, is Joan,
so in Warner. Bros.’ ‘‘The Kid
from Kokomo,’’ coming soon to
the Strand Theatre, she does a cer-
tain amount of characterization
with costume — tries to say in
that way, as well as through other
means, that she’s a former bubble
dancer who now has no visible
means of support except fight man-
ager Pat O’Brien, her hoy briend.

‘*When I turn coquettish to-
ward Wayne Morris, a few times
in the picture, that is shown in
the selection of clothes, of course, ’’
says Joan. ‘‘Those red silk paja-
mas I wear in one scene with him,
for example, are pretty obvious.

‘*But, by and large, the situa-
tion regarding clothes has changed
so much, today, that about all you
can show very plainly are extremes
of circumstances or character. If
you’re very poor or very wealthy,
very modest or vice versa, the
clothes you wear on the screen can
indicate these facts.

‘*A short time ago, however, one
could pretty well indicate much
subtler differences. That was be-
cause your stenographer, at the
time, wasn’t able to dress so near-
ly like her boss’s wife, as she is
quite able to do today. Now, the
fashion industry seems to be so
well organized that low-budget
clothes can have all the same style
details that go into original crea-
tions. So it looks as though we’re
going to have to revise that time-
honored saying about the Colonel’s
lady and Judy O’Grady.’’

PRODUCTION STAFF

Directed by Lewis Seiler

Screen play by Jerry Wald
and Richard Macaulay

From an Original Story by
Dalton Trumbo

Photography by

Sid Hickox, A.S.C.
Art Director John Hughes
Dialogue Direction by

Frank Beckwith and
Hugh Cummings

Jack Killifer
Howard Shoup
Charles Lang
Adolph Deutsch

Film Editor

Gowns by
Sound by
Music by
Musical Director

Maxie Rosenbloom recently en-
gaged in the most strenuous train-
ing he had done for years. The
idea was to prepare for two film
bouts — one with Mike McAvoy
and the other with cinemactor
Wayne Morris. These are in the
Warner Bros. comedy, ‘‘The Kid
from Kokomo,’’ which opens next
Friday at the Strand Theatre.

It wasn’t that Maxie worried
about his condition for film fisties
any more than he ever did for his
professional ring bouts. His rea-
son for training for the film bouts
was aesthetic.

‘*T gotta trim down my abdo-
men,’’ said Maxie elegantly. ‘‘In
other pictures I done lately it
didn’t matter, because I wore
clothes. And in the ring it don’t
matter either, how much I stick
out just above the belt. But an
actor has got to look out for his
looks. ’?

When ‘‘The Kid from Koko-
was first launched, the press

"Where'd you get those big, black eyes?" Joan Blondell asks Pat O'Brien.

ANT PLAY A HEEL
AND STILL BE ONE’
SAYS PAT O'BRIEN

Being a screen scamp ocecasion-
ally is good for a fellow, accord-
ing to Pat O’Brien. It’s even
good for a fellow’s marriage.
Beneficial for his wife and kid-
dies!

‘“When you’re a heel in a film
role,’’ Pat explains, ‘‘you look at
being a heel objectively. That
makes you see that it’s pretty bad
to be a heel in real life. You stand
off and see him and say, ‘I cer-
tainly don’t want to be like that
fellow.’

““But if you’re a heel in real
life, chances are you never get to
stand off and survey yourself, as
an actor surveys a character, ob-
jectively — and analytically.

Pat recently played one of those
parts he occasionally plays in
which he’s anything but the ster-
ling hero. In ‘‘The Kid from Ko-
komo,’’ the Warner Bros. comedy
which is coming Friday to the
Strand Theatre, he’s a rogue.
There’s a sneaking sympathy and
liking for him despite the fact
that he’s (a) a coward, (b) a
double-crosser, (¢) a braggart, and
(d) that it practically takes a
shotgun to persuade him to marry,
at long last, his faithful compa-
nion, a former bubble dancer,
played by Joan Blondell.

5: ]

Mat 206—30e

agent told Maxie he wanted him
to save his best gags for publicity
use. Said Maxie: ‘‘Aw, if you
want ’em, you’d better get me a
secretary who ean take shorthand.
Just let her follow me around all
day and take down the good cracks.
I make so many I can’t remember
’em, myself.’

He has some difficulty remem-
bering his ’script lines, as well as
his ‘‘gags.’’ So in a previous pie-
ture, ‘‘Women in the Wind,’’ Di-
rector John Farrow got exasper-
ated and made some rather erush-
ing remarks. Maxie doubled his
fists, came forward and towered
over the director. ‘‘Look, you,’’
he said, ‘‘if what you’re sayin’ is
what I think, I’m gonna —’’

‘*Yes?’’ said Farrow crisply.

‘*Gonna have my secretary send
you an insultin’ note!’’ Maxie
snapped.

During the filming of ‘‘The Kid
from Kokomo,’’ Maxie’s friend
Mushy Callahan, former junior
welter champ, was teehnical ad-
viser and mentor to the dozen or
so pugilists in the stable of fight
manager Pat O’Brien. Joan Blon-
dell, striving to attract Mushy’s
attention one day, eried, ‘‘ Hey,
champ!’’ Both Mushy and Maxie
said ‘‘Huh?’?

Maxie looked disappointed when
he found it wasn’t a call for him-
self. Said he to Callahan later,
‘Look here, Mushy — when any-
body calls out ‘Hey, champ!’
around here, I don’t want any-
body to look up except me!’’

Maxie admits he’s a good catch
for any girl, but will be hard to
land because the girl must answer
many specifications. Among them,
she must be old-fashioned and an
excellent cook. She mustn’t wear
make-up or lipstick, either. Maxie
hates them, because they get on
his collar and jacket shoulder. He
Was in love once with Margaret
Robinson, daughter of the Cana-
dian champagne king. She admit-
ted liking him but turned him
down because, said she, ‘‘ father
insists that I marry a man with
a title.’’? Said Maxie, indignantly,
‘‘what’s the matter with my title
—Light Heavyweight Champion of
the World, I want to know?’?

Mat 203—30c

May Robson and Pat O'Brien agree you meet the best people in night court!

Mat 209—30e

How not to train for a fight, is demonstrated by Wayne Morris as "The Kid
From Kokomo." (1) Take your girl along on roadwork. (2) Forget the road-
work and sit down for a chat. (3) This one seems to speak for itself.

Gloom Takes Beating From ‘Kid from Kokomo’

PEELE CCE

(Opening Day)

AT STRAND TODAY
IS ALL FOR LAUGHS

Some of the racketeering that
goes on behind the scenes of the
prizefight game is hilariously ex-
posed in ‘‘The Kid from Koko-
mo,’’ the Warner Bros. comedy
featuring Pat O’Brien, Wayne
Morris and Joan Blondell which
opens today at the Strand Theatre.

Exposing evils of the boxing
game is, however, merely incidental
te the main purpose of the picture,
which is to garner laughs. Noth-
ing is taken serious!y, and even
the most dishonest of the film’s
characters are rather engaging ras-
cals.

In the new picture every char-
acter and every twist of the plot
is humorous, laughter being di-
rected even at the virtuous hero,
who is altogether admirable in ev-
ery respect except that he does
seem to be just a bit dense, even
for a country bumpkin who has
been slickered by a crooked fight
manager into leaving his native
heath to become a_ professional
fighter.

The husky farm boy, it ceems,
has only one great desire in life,
and that is to find the mother who
left him as a baby on the door-
step of the farmer who brought
him up. So, the scheminz fight
manager, played by Pat, provides
a mother for Wayne in the person
of a raffish old k'eptomaniae who
in her distant youth had been an
actress.

The boy is taken in by the de-
ception, and gratefully proceeds to
travel fast up the ladder of fistic
success. With the money rolling
in, his ‘‘mother’’ takes advan-
tage of the situation to wrest con-
trol of Wayne from his manager,
who thus sees his clever scheme
laying an egg right in his lap.
From there on, there’s a succes-
sion of rapid-fire, uproarious com-
plications that lead finally to a
climactic brawl which is one of the
funniest scenes of roughhouse ever
filmed.

Supporting the featured trio, is
a cast rich with accomplished co-
medians, including May Robson,
Jane Wyman, Stanley Fields,
Maxie Rosenbloom, Sidney Toler,
Ed Brophy, Paul Hurst, Morgan
Conway and many others.

OC

Cast of Uproarious C

Kid Laughter won an easy de-
cision over Old Man Gloom when
somhe- Kad “trom: Wwokomo; the
Warner Bros. prize ring comedy
featuring Pat O’Brien, Wayne
Morris and Joan Blondell, opened
yesterday at the Strand Theatre.

Blocking everything with his
funnybone, Kid Laughter swarmed
to the attack with jabbing rib-
ticklers, snappy quips and joltin?
wisecracks, with the result that not
only was Mr. Gloom draped neatly
over the canvas at the end of the
uneven contest but the audience
also was left limp and gasping —
just from laughing so long and so
hard.

Tossing aside the metaphor, it
is a fact that the new Warner
Bros. comedy is just about the
funniest motion picture that has
come along so far this year and
compares favorably with the best
of any year.

It is an unusual picture, for it
takes the elements out of which
scenario writers have always be-
fore concocted adequate enough
melodrama and, merely shifting
the pont of view, uses them all
to hilariously comic effect.

Against what has heretofore al-
ways been depicted as the sinister
background of the prize ring rack-
et, it traces the build-up of a big,
husky, hard-punching country lad
who is none too bright into the
heavyweight champion of the
world. Only this time all the wick-
ed people are more funny than
sinister, and the swiftly moving
complications, while exciting
enough, are all geared for laughs
rather than menace.

Most of the humor revolves
about the strategem employed by
Pat, as a fight manager entirely
without scruple, to get the promis-
ing looking country youth, played
by Wayne, to consent to leave the
farm and become a_ professional
boxer.

The youth, it seems, was as a
baby left by his mother on the
doorstep of the farmer who
brought him up, and his only real
desire in life is to find his mother
again. So Pat provides the mother,
in the person of a raffish old drunk
and petty thief who had been an
actress in her youth.

Wayne is taken in by the trick;

in fact, he is taken in much too

Mat 211—30c

Love enters the prize ring and gets the decision when Wayne Morris and Jane
Wyman get together in the Strand’s current laugh hit, "The Kid From Kokomo."

(Review )

‘ID FROM KOKOMO’ ~Wayne Morris and Pat O’Brien Head
omedy at Strand

Mat 205—30c

Every day is Mother's day with Wayne Morris, in the title role of "The Kid

From Kokomo."

May Robson is the mother, alias "Shop-lifting Sadie."

much for Pat’s peace of mind.
For the old girl, seeing herself the
object of the blind adoration of a
boy who is earning huge money as
a rapidly climbing heavyweight
contender, takes over the manage-
ment of his affairs — in her own
interest.

That’s enough to tell here, for
it would be robbing the prospec-
tive spectator of many a _ hearty
laugh to reveal here just how the
contending racketeers plot and
counter plot to grab the wealth
that is being piled up by the coun-
try boy’s hard fists. It should suf-
fice to say that Wayne eventually
wins the championship on his own
merits and also comes in for his
rightful share of the spoils.

It should be obvious that both
Pat and Wayne have roles virtual-
ly tailored to their measure, and
all that need be said about their
handling of their assignments is
that neither has ever exhibited his
talents on the screen to better ad-
vantage. Miss Blondell, as a re-
tired bubble dancer who is Pat’s

shrewd girl friend, is responsible
on her own for many a hearty guf-
faw.

Heading the supporting cast is
the ever-dependable May Robson
— only this time she is much more
than dependable. In fact, her por-
trayal of the disreputable old fake
mother, makes her a sure contender
for an Academy award next spring.

Others among the supporting
players who shine with more than
usual lustre include Maxie Rosen-
bloom, in a characteristic role of
a dumb ‘‘pug’’?; Jane Wyman, as
Wayne’s girl friend; and Stanley
Fields, as Miss Robson’s gentle-
man friend. Helping to contribute
uproariously funny moments are
Sidney Toler, Ed Brophy, Ward
Bond and Paul Hurst, and what-
ever sleek menace is fleetingly re-
quired is well supplied by Morgan
Conway.

The screen play, a witty and
well paced job, was written by
Jerry Wald and Richard Macaulay,
based on a story by Dalton Trum-
bo. Lewis Seiler directed.

Jane Wyman knows all of the
answers and most of the questions.
She is a ‘‘show ’em’’ girl from
Missouri, more particularly from
St. Joseph, Mo., where she was
born during the World War.

She is familiar to picture fans

-for a number of sprightly per-

formances and for her delivery of
the biggest laugh line in the pic-
ture, ‘‘Brother Rat,’’ when she
suddenly appeared from under the
couch cover and saved the situa-
tion for the cadets in trouble by
warning the officer of the day with
a wagging finger and the words,
&’Pana won't like.??

‘*Papa’’ in that instance, was
the commanding officer of the
school. ‘‘Papa’’ in Jane’s real
life held various official offices in
Missouri and was well used to the
persuasive ways of young ladies
because Jane has two sisters.

Life has been a continual round
of activity and excitement for
Jane Wyman. Restless and ener-
getic, she played tennis, soccer,
volley-ball and basketball in school.
Just recently she has taken up ice
skating where she left off several
years ago. She still manages to
fall as gracefully as the average

[ 16 ]

She’s From Missouri:

/

and to get black and blue in the
same places.

To her intimates Jane is known
as ‘‘ Just Folks.’’ That is her own
name, Sarah Jane Folks, but she
has a big supply of names and is
apt to tell anyone who asks that
her real name is Jane Durrell or
Jane Pechelle. ‘‘Pechelle’’ was
her mother’s theatrical name in
Paris. ‘Durrell’? was just a hap-
py inspiration when she needed a
name for radio work some years
ago. ‘‘Wyman’’ is the name she
took when she started in pictures.

Following her work in her latest
picture, ‘‘The Kid from Koko-
mo,’’ which is now showing at
the Strand Theatre, Warner Bros.
decided that after her three year
probationary period Jane should
be groomed for real stardom. The
provinces were reporting about the
little blonde beauty who delivered
that now-famous line in ‘‘ Brother
Rat.’’? Perhaps, when she heard
that good news, Jane remembered
the line she wrote on her original
studio questionnaire, after the
question: ‘‘What is your present
ambition?’’

To that her answer was: ‘‘Not
to be just an actress, but the ac-
tress of Warner Bros.’’

CREUUDODNADAUEONUTOREDARLONSOOROOEEUONCOUEESEUEUOUOODOEEEUAEEAUEYOEGOEEEAAUEOECUOECEOOOCOS EOEEETC TTT ETEEED

DYMAMIC? Wri, NO
IM JUST RESTLESS’
SAYS PAT O'BRIEN

Pat O’Brien’s dynamic activi-
ties in film characterizations aren’t
without foundation in the Irish-
man’s real-life doings.

Restlessness, he calls it.

While working in ‘‘The Kid
from Kokomo,’’ the Warner Bros.
picture with Joan Blondell and
Wayne Morris also in the east,
which is now showing at the
Strand Theatre, O’Brien told on
the set one day how he spent an
Eastern ‘‘vacation’’ which had
immediately preceded the picture.

““T saw eighteen stage plays,
four big football games, and made
expenses for the trip betting on
Seabiscuit at Pimlico,’’ O’Brien
explained. ‘‘Saw all my old New
York friends who were around
town, of course, and some in other
towns. Then hopped over to Ber-
muda. And before I knew it, I
was back in Hollywood, starting
this picture.’’

O’Brien can sit in- a canvas
chair beside a set or an easy chair
at his home with an air as rest-
ful as anyone in the world with
the possible exception of Stepin-
fetchit. But to be content doing
those things, he must be in ¢on-
versation with someone, or watch-
ing something interesting, or be
silent partner to some practical
joke.

Probably one of the most sen-

timental Irishmen that ever walk-
ed, he keeps his weakness for all

PAT O'BRIEN
Mat 102—15c

things Hibernian pretty well to
himself. Too often, in Hollywood,
shamrock-waving Irishmen are ac-
cused of being ‘‘ professional Irish-
men.’’ If anyone called Pat that,
and meant it, it would break his
heart. That is, his heart would
break immediately after he got
through breaking the other fel-
low’s nose!

‘“The Kid from Kokomo’? is the
sort of picture Pat likes. He plays
a fight manager who’d double-
cross his own grandmother. Joan
Blondell and Ed Brophy are fel-
low conspirators on his side, May
Robson, Stanley Fields and others
are arrayed against him. Jane
Wyman is heroine, and the hero,
Wayne Morris, is a big, dumb
hayseed—playing comedy straight-
faced and seriously.

Pat thinks this was a good role
for him as follow-up to his work
in ‘‘Angels with Dirty Faces.’?

‘“From that good father to this
crooked and scheming manager of
fighters is a far enough ery to
remind people that I can do more
than one kind of part,’’ he points
out. ‘‘Funny, extreme roles like
those are the sort I like best.’’

Publicity To Put Laugh Lines In The Headlines

MT

(Women’s Page Feature)

Wayne Morris Grows Up PREVIEW OF FALL
But World's Still His Oyster

Quite suddenly Wayne Morris
has grown up. He is no longer
the brash youngster who leaped to
announced stardom in ‘‘Kid Gala-
had,’’. and who plagued all his
fellow workers and friends with
his exhuberant bad manners and
animal spirits.

Career and marriage have done
for young Morris what home and

WAYNE MORRIS
Mat 107—15e

studio discipline were unable to
accomplish. They are listed in the
order in which they happened to
Morris, not in the order of their
importance in his opinion. These
forces have settled him, like an
egg in the coffee, but they have
not spoiled that famous grin which
is golden at the box office, nor

~s~ehave they convinced him that the

world is not his oyster.

Wayne’s experiences in Holly-
wood have demonstrated all over
again the truth of the age-old dec-
laration that ‘‘youth will be serv-
ed.’’ There was no stopping him

after he once got his size eleven
(that’s guess work) shoes on the
first rung of the professional lad-
der.

Now there is no worry over the
way Morris is going to take to sue-
cess. Leonora (Bubbles) Schinasi,
who became Mrs. Wayne Morris at
midnight, January 8, 1939, seems
to have remedied all that.

The couple returned recently
from a long and leisurely honey-
moon during which they sailed
through the Panama Canal to New
York, with numerous stop-overs,
and returned by automobile across
country in what Wayne describes
as ‘‘short takes.’’ There were
numerous personal appearances to
make on the way and much public
attention given the young player
which might have proved heady
had it not been for his experience
in Manhattan.

In New York they stayed with
Wayne’s mother-in-law, who lives
in a forty-two room mansion on
Riverside Drive, one of the few
remaining occupied big houses on
that famous drive. Wayne realized
that he might work as a star in
pictures for much longer than the
average time any career lasts and
never be able to duplicate the art
treasures and costly antiques which
make the two middle floors of the
four-storied mansion a museum of
wonders to which the public is oc-
casionally admitted.

It was after he met ‘‘ Bubbles,’’
now his wife, that he really set-
tled down for the first time in his
life and did some of his best work
to date in ‘‘The Kid from Koko-
mo,’’ at the Strand Theatre, in
which he has a role which should
cement him firmly in the star list
for a long time to come. When it
was finished he and ‘‘Bubbles’’
were married, at midnight, in a
Beverly Hills cafe and after a
short wait, to make sure there
were to be no retakes needed in
““Kokomo,’’ they took off for the
long honeymoon across country.

Mat 202—30c

Joan Blondell, as an ex-bubble dancer who contributes to the merriment in
“The Kid from Kokomo," now showing at the Strand Theatre.

MODES PRESENTED
IN STRAND COMEDY

Autumn fashions cast their
shadows on the summer screen
right now at the Strand Thea-
tre where Joan Blondell and Jane
Wyman wear clothes designed by
Howard Shoup in the new Warner
Bros. comedy, ‘‘The Kid from
Kokomo.’’

The well known designer shows
his faith in the slim silhouette
which has barely managed to exist
since mid-winter, in background
dresses accented with important
pieces of jewelry, in colorful
tweeds, in interesting dressmaker
detail and in poke bonnets. He ex-
pects all of them to be autumn
“musts. 7?

Jane Wyman wears Shoup’s con-
ception of the slim silhouette both
for afternoon and evening affairs.
By day she shows off a greyed
rose blouse of soft wool jersey
which has square yoke and cuffs
of the long sleeves smocked in
wine wool yarn to match the
straightlined, high-waisted skirt.
At dinner Jane wears a gown made
entirely of lime green fringe ar-
ranged in narrow horizontal lines.
Over it goes a high-throated boxy
bolero also composed of rows of
fringe. Joan Blondell is partial
to a slim raspberry crepe after-
noon frock with which she teams a
turban of deeper hue.

Joan’s most interesting back-
ground dress is a black sheer wool
fashioned with bracelet-length
sleeves and round neck. Accents
are necklace and bracelet of lacy
silver chains and turquoise. A deep
green wool dress is set off with
huge beaten gold buckles at the
waistline and matching clips posed
high on the slim V-neckline. With
this Joan wears a brief dyed skunk
jacket and black poke-bonnet with
crushed band of green veiling. A
black velvet evening gown pattern-
ed with halter neck has gigantic
jeweled leaves pinned to the center
of the front bodice.

Jane Wyman Has New
Way To ‘Count Ten’

Jane Wyman has taught all her
friends and co-workers at the War-
ner Bros. Studio to watch her for
any and all signs of temperament.
The instant one appears they sim-
ply say, ‘‘Whoa, Jane — go out
and come in again.’’

Whereupon Jane smiles sweetly,
makes a curtsy, and if she has
spoken sharply to anyone, apolo-
gizes. The supreme test came one
day recently when she skipped rope
with Wayne Morris, Ed Brophy
and Maxie Rosenbloom for a gym-
nasium scene in ‘‘The Kid from
Kokomo.’’

““You erazy galoots tripped
me!’’ she cried to the actors who
had been spinning the rope for
her.

““Go out and come in again! ’’
called Director Lewis Seiler.

‘‘Sorry, gentlemen,’’ said Jane,
gritting her teeth but smiling.
““So veddy, veddy clumsy of me.’’

May’s Solo Gets Encore

May Robson’s famous “drunk
and disorderly” scene from the
night court sequence of “The Kid
from Kokomo,” the Warner Bros,
comedy now playing at the
Strand Theatre, is one of the
most popular privately-projected
films in Hollywood. Many a star
with a projection room in his or
her home has borrowed the se-
quence (first shown separately
from the film at Miss Robson’s
recent seventy-fifth birthday
luncheon at the Warner Bros.
Studio) to show at parties.

i iy ge

TERS aac? pe Baia es eh ae cate
lifting Sadie,’ she plays her most hilarious role in "The Kid from Kokomo"
at the Strand. (Right) the beloved veteran actress, as she really looks today
at the age of 75 and at the height of her career.

MAY ROBSON — Left as "Shop-

(Mat 208—30c. This 2-col. mat may also be cut apart for one col. mats.)

TALK OF HOLLYWOOD —

Wherein a Bubble Bursts... An Irishman Nixes
Politics... < And Girks. Pick: Maxie —-Out:

(This may be used as a complete column in local daily, or as separate
shorts and fillers.)

Information, please — Joan Blondell would like to know how professional
bubble dancers do it. Cast as an ex-bubble dancer in ‘‘The Kid from
Kokomo’’ she had to give a demonstration for Wayne Morris in one

scene and in doing it she broke seven standard balloons.
* * * *

Pat O’Brien confesses that the reason he turns down those
honorary political jobs that are offered him, is that he
fears the Irishman in him. He’s afraid that once he got
into politics, he’d want to stay in the fight.

"Twas quite a blow to Maxie Rosenbloom, who fancies himself as a
‘slayer’ with the women, when the Alpha Delta sorority at University
of Southern California made him their official ‘‘dodo boy.’’ The girls
selected him, they said, on the basis that he ‘‘is the only actor in the
film industry with whom we positively would not wish to be stranded
on a desert island.’’ Anyway, it’s a distinction!

* * * *
Parrots is the craziest people! One of them, used in a

scene for “The Kid from Kokomo,” bit a neat nip off
tough-guy Ed Brophy’s ear, which must have been plenty

hard to digest — even for a parrot.
It wasn’t bigamy but — Wayne Morris was married twice in one day.

The first wedding was a scene in ‘‘The Kid from Kokomo’’ in which
he says ‘‘I do’? to Jane Wyman. Six hours after the scene was filmed
the husky hero promised to love and honor ‘‘Bubbles’’ Schinasi, this
time in real life. The not-so-little man had what we’d call a busy day.

* * * *

An ambition we all hope will be fulfilled is May Robson’s.
The beloved actress, just seventy-five years young, wants to
see her name in lights on a theatre marquee on her 100th
birthday — and she hopes it’s a comedy role.

A mere twist of the eyebrows turns Sidney Toler from a Chinese char-
acter to an Irish one. That’s how Charlie Chan becomes a genial Irishman
in ‘*The Kid from Kokomo.’’ Toler explains that his typically Irish
countenance takes on an Oriental cast, when he draws his brows together,
at the same time drawing up the outside corners. So, East meets West.

Someone yelled ““Hey, Champ” on the set of “The Kid from
Kokomo” and fifteen pugilists jumped up and took a bow.

Jane Wyman admits that she made too broad a statement when she re-
plied on the Warner Bros. questionnaire about athletic ability that she
could do ‘‘anything film work would ever require of her.’’ Rope-skip-
ping, one athletic accomplishment that she had never thought of master-
ing, was the only one required of her in ‘‘The Kid from Kokomo.’’

Mat 210—30c

WHO AM I? — Maxie Rosenbloom, trys to prove he's a real actor, besides
being a great fighter, comedian and restaurateur, so between scenes of "The
Kid from Kokomo," mimics Maurice Chevalier, Paul Muni, and Charlie Chaplin.
(Yes, you may form your own opinion — we're neutral.)

Newspaper Contest ....

Ae UAUEGATOUCOSUAUHUAUEANATNSTOADTAN ON VE

TCC

POUL CLEC CCC

We've adapted ad number 302 for use as a six-day contest. You can do the

same thing, and if you can’t grab off the space for a week running, we won't
sue you if you cut it down to two or three days. Idea is to run one head a
day with the accompanying unfinished wisecrack. Contestants fill in the
line, either in rhyme or not, best ones getting paid off in passes. The win-
ners may also be mounted on lobby display board or imprinted on heralds.

SAMPLE
Laugh at
PAT O’BRIEN

(a gyp off the old block).

| A two-timing Broadway phony... .

BEST LAFF LINES
GET MOVIE TICKETS

Here you are, movie fans — your
big opportunity to have a lot of fun
and win a pair of free tickets to see
‘The Kid from Kokomo,’ the laugh-
riot comedy which comes to the
Strand Theatre on Friday, with a cast

Ist Day

Laugh at

Laugh at
JANE WYMAN
She’s got Wayne’s

kisses and ............ a

WAYNE MORRIS
Just a kid from the
country .... but

including Wayne Morris, Pat O’Brien,
Joan Blondell and Jane Wyman, as
well as such outstanding comedians as
May Robson, Maxie Rosenbloom and
Stanley Fields.

There is nothing to buy, no strings
attached. All you have to do is add
a comical line to complete the caption
under each of the star’s photographs
as they appear daily in the (news-
! paper). Use the sample Add-A-Laugh-
Line illustrated above to guide you in

the contest. When you have completed — «-:-----:------

all the lines, send all 6 of the series
to the Add-A-Laugh-Line Contest Edi-
tor, care of this newspaper.

Winning ‘Laugh Lines’ will be
judged on the basis of humor and
originality. Don’t be afraid to try
out your ideas. It’s wide open for
daffy-laffy, happsy-slappsy fun. Don’t
miss any of the installments, because
you have to complete them all to
qualify.

Start the laughs rolling — fill in
your Add-A-Laugh-Lines.

Laugh at
PAT O’BRIEN
He’ll do anything to

turn an honest dollar

Laugh at
STANLEY FIELDS
He knew his girl lov-

ed him ’cause..___.....

MAY ROBS

3rd Day

4ih Day

Laugh at

JOAN BLONDELL
Bubble-dancing was

her career .... but

ian ablean nobilis !
6th Day
Laugh at
MAY ROBSON

Shoplifting Sadie, she

SS
PY apy yy
YOHA
at Fe eer cc eteveteuprtan a teate eee eT CUPS ee cern Te
e
'
on 0 See Whe Seis cake, ee “Seles on Seg BOL ese: aie ake ee .

PLUG FOR MAXIE

Capitalize the widespread publicity Maxie Rosenbloom
has been getting in the papers and on the radio for your
showing of "The Kid from Kokomo."

You can possibly

reach in your city any one of the more than 250 oppo-

nents Maxie has faced for a sports page interview.

DISTRIBUTE
FAN FOTOS

Wayne Morris’ recent tour
throughout the United States
showed his popularity with the
gals. Make sure you get a wide-
spread distribution of his auto-
graphed fan photos in dance
halls and other public places, to
the first twenty-five people at
the boxoffice, etc. See acces-
sory section for prices.

BOXING MACHINE

Set up in your lobby one of
those mechanical boxing ma-
chines where two metal fighters
are manipulated by hand levers.
(from amusement park) Call the
fighters Wayne Morris and
Maxie Rosenbloom. Mount stills
from picture around machine.

LAUGH LINES
FROM THE ADS

Forget the headlines . . . join the laugh lines.
z % x
How hard can you laugh? You'll never know — ’til you
see “The Kid from Kokomo.”
= % ™
There’s nothing wrong with the world that a good
hearty laugh won’t cure.
% % =
Pat O’Brien...
old block!

a two-timing phony . . . a gyp off the

#s 2
hod nt

Pat O’Brien . . . he'll do anything to turn an honest
dollar . . . except work!

%s we
a * Lod

Wayne Morris . . . just a kid from the country but he’s

sure going to town!
me co

What this world needs is one great big LAUCH.
%

Ea J

Joan Blondell . . . bubble-dancing was her career...
til Fate stuck a pin in it!
May Robson . . . Maggie had something up her sleeve
— that’s how they caught her shoplifting!
May Robson . . . Shoplifting Sadie...
and a sleeve full of silver!

a heart of gold

[18 ]

‘LAUGH STAND-BYS

Man parades streets laughing continuously. Sign on his
back reads: ''l didn't take laughing gas — | just saw ‘The
Kid From Kokomo’ at the Strand Theatre."

Play laugh record over P.A. system during picture's run.

Local restaurants distribute
cards: "After a good meal
there's nothing like some good
laughs—see ‘The Kid From Ko-
komo’ now at the Strand."

Man in street, ‘headless,’ carries
copy: ''| laughed my head off at
'The Kid From Kokomo’ at the
Strand Theatre."

Reserve "'special section" dur-
ing showing for contestants who
give vent to funniest, longest,
loudest, lowest, and highest
laughs imaginable. Contest
open to anyone.

Your cashier distributes hand-
written notes with the tickets.
Suggested copy: "Just for fun,
see ‘The Kid From Kokomo',"' or
'''The Kid From Kokomo’ tests
your laugh-ability.”’

Tell Them....

HOW ‘KOKOMO’ WILL MAKE ’EM LAUGH

MTT

Send Series Of Funny Postal Cards To Your Mailing Lists

HOW HARD CAN YOU
LAUGH?

You'll never know ’til you see
THE KID FROM KOKOMO

(cast and date)

THERE’S NOTHING WRONG WITH (ary
THE WORLD THAT A GOOD MC , Ge:
HEARTY LAUGH WON’T CURE! \s a

And here it is!

THE KID FROM KOKOMO ok /') i
en

| dake) | \ \
(cast an ate \
\, |

ARE YOU WAR-WORRIED...
CRISIS-WEARY?

Well, let up and laugh at the ANY
year’s gayest gang of goofs in

THE KID FROM KOKOMO

(cast and date)

What This World Needs is One Great Big L-A-U-G-H...

and here itis... HA
THE vy A
KID Mr LAA)

KOKOMO

ff
FROM Ai Sy}
Wr

Nv

SoM Wf
WA, =
Ke
/ RIVA
A)
=v

[19]

es fy) (cast and date)

To give your showing a swell advance build-
up, send this entire series of comic postal
cards, one each day, to your mailing lists.

All the line drawings come complete on one
mat. Order “Kokomo Mat 301 B”— 45c
from Warner Bros. Compaign Plan Editor,
321 West 44th Street, New York City.

BOXING ANGLES

Slapsie- Maxie Contest

Pick up two-column publicity cut of Maxie Rosen-
bloom on page |7 for one-shot contest. Patrons
guess which film characters Maxie is mimicking;
first 25 correct answers win passes. Publicity story
on Slapsie Maxie ought to be food for sports page
planting; angle: his crazy ring career and boxing
style, and his subsequent success in Hollywood.

Sell Sports Fans

Make use of the following boxing stills for window
and counter displays in sports stores, gymnasiums,
and sports circulars, together with billing and play-
date. Order from Warner Bros. Campaign Plan
Editor, |0c each: BC 326, BC 327, BC 328, BC 340,
BC 341, BC 371.

Punching Bag

Promote from amusement park a punching bag with
clock arrangement grading power of blow deliver-
ed. As lobby stunt, clock is marked for degrees of
humor patron can stand; smile, grin, laugh, guffaw,
roar. Copy reads: Test your Laugh-Ability for ‘The
Kid from Kokomo’ at the Strand Theatre on Friday.

Famous ‘Kids

Local sports editor might be sold on feature story
angle of the various boxing champions who took
the nickname "'Kid."" A few are Kid McCoy, Kid
Graves, Kid Lewis, Kid Lavigne, Kid Kaplan, Kid
Chocolate, and of course, ‘The Kid from Kokomo."

Burlesque Bout

Fight promoter might include between regular
scheduled bouts a burlesque match between two
clowning boxers. One of the "'boxers"’ is called the
"Kid from Kokomo" and his robe carries name.

Sports Mags Aid

Enlist help of sports magazine distributors. Arrange
for truck banners, herald insertions, newsstand tack
cards and stickers before showing of the picture.

Street Bally

Rope jumper in boxing tights skips through streets
with sign on back plugging title of the picture.

[t°s Latts ....

FROM LOBBY DISPLAYS TO BALLYHOO

SUCCEED CC

CTE Cee

AD NEWS FLASH

KD GALAHAD BATTLES -

Five column ad on page 13, Mat 501, may also be
used as a tabloid news herald for local distribution or
as lobby display. Set type for “‘News Flash’’ headline
and theatre copy.

‘MAMA’ DISPLAY

Life size blowup of Wayne Morris from Ad No. 303
with the words “I! Want My Mama” coming out from
behind. In back of this lobby display is the mechanism
of a “‘mama doll’’ which can be attached to a revolving
wheel so as to repeat. Sound may be picked up by
amplifier to carry the wail throughout lobby.

CRAZY MIRROR

Irregular mirror in lobby reflects patrons in distorted
images, some in elongated shapes, others compressed
into fat figures. Copy over mirror reads: “If you think
this is funny, wait till you see “The Kid from Kokomo’
coming to the Strand Theatre on Friday the 21st.”

TOOL TUCO LCCC LULU CC LCCC CCC CCC COCO

MEET ‘THE KID’

Conduct contest similar to national
one held annually by 4H Clubs to find
the healthiest lad around. Might
switch this to most typical farmer lad,
a strapping young hay-pitcher to be
named "The Kid from Kokomo," or
The Kid from wherever he comes from.
Big local promotion includes entertain-
ing him in real city style day of your
opening. Arrange luncheon, meeting
with mayor, merchant tieups, night
club visit and telegram from Wayne
Morris, "The Kid from Kokomo"
greets ‘The Kid from Slabudka," etc.

FARMER STUNTS

If you're located in a farming district
be sure to combine the farm and com-
edy angles in the picture by sponsor-
ing corn husking, hog calling and sim-
ilar contests. Spot the preliminary
trials in various places in town to build
up interest and then hold the finals in
or near your theatre. Contests should
be good for newspaper mention.
Awards tickets to your showing of the
picture and promoted merchant prizes
to the contestants.

LOST SON STORY

From morgue of local newspaper dig
up stories which appear from time to
time concerning a long-lost son find-
ing his mother, or father, or vice versa.
A tie-in with the similar angle in the
picture and you've got a good spe-
cial feature to plant.

MOTHERS DAY

Build goodwill in your community by
taking over the entertainment of local
old ladies home for a day. Tour city
in autos, florist presents them with
flowers, and the theatre films picture
for them.

BROKEN PANE

Boarded up window in store next to
theatre carries sign: Business Going
On As Usua!—'The Laughs From Next
Door Have Vibrated this Window So
Hard It Broke.’

FUN TRAILER

The Vitaphone trailer for this show is
one big howl, selling all the laughs of
the picture and the big comedy cast
in fast breezy style. Be sure to get it
as your best advance selling aid.

[ 20 ]

BE ee ee

THE KIDS ROAD To WHAT HE PUT IN HE THOUGHT SHED LOOK
s FAME AND — THE BANK LIKE THIS
3 ae |
ee
a
oH) Hee T \ | FREEZING
| ALD POINT

OCCT TTT eT CC

THE REAL THING
| 7 KID from KOKOMO

VB, i“ ian
Vif (cy

WHAT THE MANAGER'S
GIRL USED IN HER
RUBBLE DANCE

WHAT THE KID HAD IN HIS
HAIR WHEN HE LEFT
KOKOMO

THE MARRIAGE KNOT THE
KID'S MANAGER WAS
TRYING To DUCK

THEY FIND HIM A “MOTHER:

= ete

‘ visas wwe
te Wins

|| BUT THE MOTHER’ LIKED | SHE REFORMS, HOWEVER, AND | THE CHAMP'S CONDITION
‘|| CRAP GAMES Too MucH | HELPS HIM IN THE CHAMP-| AFTER THE BIG FIGHT
(THE KIDS MONEY) IONSHIP BOUT | WITH THE KID

This display will attract attention because you use
REAL THINGS to set up the comedy situations.

DIZZY CHAIR

Here’s a favorite lobby stunt to sell the ‘dizzy’? com-
edy angle. Install a spinning chair of the swivel chair
type in a conspicuous place with a broad chalk line
marked on the floor leading away from the chair. Copy
on sign reads: ‘‘ ‘The Kid from Kokomo’ thinks all city
folks are dizzy. Prove he’s wrong. Free tickets to any-
body who can walk a straight line after a few spins.”’

TIE-UP STILLS

Order the following specially pre-
pared stills from Campaign Plan
Editor. Complete set of 12—$1;
individually 10c.

WAYNE MORRIS

4 ernst ee WM Pub A116
BORING hoe ese WM Pub A39
a Mike Ne Os aaa gE WM Pub A261
Sun Glasses .............. WM Pub A241

PAT O’BRIEN

Camera a PO Pub A280
Fees foe PO Pub A261
Badminton... PO Pub A307
Field Glasses. )..2:. 20. PO Pub A290

JANE WYMAN

Three-In-One Idea... .

CONTEST-PUBLICITY PLANT -DISPLAY

PM ECC CCC

MCC CC

This five-column picture strip has a number of uses. First as a contest, ex-
plain who the characters are and then have patrons or newspaper readers
supply their own captions. For a publicity plant, it has equal value as a cartoon
strip ‘telling the story in pictures.’ Lastly it may be blown up for a lobby dis-
play, and reprinted on herald and broadsides for local distribution.

Order “‘Kokomo Mat 501 B’—75c from Warner Bros. Campaign Plan Editor.

HOW ‘THE KID FROM KOKOMO’ MADE A CHUMP OUT OF THE CHAMP

“The Kid from Kokomo,” a Warner Bros. picture starring Wayne Morris, Pat O’Brien, and Joan Blondell, comes to the Strand Theatre on Friday.

One day a fight manager They tell him they’ll find his Maggie likes to shoot dice But the promoters are gam- However, our heroine Maggie
(Pat O’Brien) and his girl long-lost Ma, so they turn up with the boys but The Kid blers too, and when The Kid arrives on the scene and with
(Joan Blondell) come upon with Maggie (May Robson). stays at home reading and gets his big chance, they want some high-powered coachiug
he Kid From Kokomo The Kid From Kokomo is training for the day when him to throw the fight. Alas from the ringside, helps our
(Wayne Morris), a powerful aghast but he’ll believe any- he’ll be the world’s heavy- for the Kid — a simple farm- hero knock out his opponent
farmer lad. He won’t fight thing. Especially when it’s weight boxing champion. And er boy at heart and as honest and become the heavyweight
because he’s waiting for Ma. about his dear old mother. Ma keeps losing his dough. as the day is long. champion of the world!

FOR ‘STUNT NIGHT

In line with the current vogue for crazy audience stunts,
such as races to see who can roll a peanut fastest across
the stage, using the nose alone, you can hold one of the
wackiest — but funniest — stunts imaginable right in your
own theatre. Idea is to see who can yell "Mama!" loud-
est, just like Wayne Morris does in the picture.

SEE BOYS’ GROUPS

Tie up with local YMCA and other boys’ athletic groups
pointing up the clean-living, healthy-limbed Kid From Ko-
komo (Wayne Morris), as a typical model to follow. Prizes
may be offered for best boxers in respective weights, for
boys who best observe training and health rules, etc.

MAY ROBSON
STUNTS

Hold make-up photo contest
with prize going to the girl
who can act and look most
like May Robson in the night
court scene.

the old "Lady For A Day” Wy
angle might be good for a
citywide promotion. Local or-

“Picture Yourself As Strong Man’

ee ee

a <1 from
If you've never used it before, KO

KoMO

passes.
| STRAND \/

SS

HOOSIERS ATTENTION!

KOKOMO, MISS., and KOKOMO, COL., Please Copy.
Hoosier state exhibs should go to town on this one with
"Hollywood" style openings of ‘Kokomo’; featuring
Kleig lights, celebrities, reporters, photogs and all the
fixin's. There are two other Kokomos, one in Mississippi
and the other in Colorado. Both spots can do same job.

MOTHER -SON NIGHT

"'Mother-and-Son Night'' may be held in theatre, with
all mothers who attend accompanied by their sons re-
ceiving some sort of token promoted from local mer-
chants. Idea might be good for publicity story; mother
attending with most sons, oldest mother, etc.

PATRONS GIVE
FUNNY TITLES

Invite your patrons to suggest
funnier names than "Kokomo"
for a possible movie title, like
"The Kid From Sopchoppee”
(Florida), or Saskatoon, Wal-
la Walla, etc. Funniest names
are selected, posted on a lob-
by board, best ones getting

Variation of the contest has

ganization sponsors an old
lady from an old folks home
for the run of the picture.
Merchants tie in with various
aids like clothes, flowers, etc.

Lobby cutout of muscle man with head missing provides
lots of fun for patrons week before showing. Might tie
up with tintype photographer to be present few hours a
day to take snapshots. Six-sheet has same illustration.

2b]

patrons writing imaginary
comical stories about travels
of the Kid from Kokomo
through these goofy places.

ADVERTISING ACCESSORIES

a ae ee es ee a ee a en ee a a
H

COLORED
22x 28's -

Rental: 20c each

LONDEL

Colored 11 x 14's
Set of Eight — Rental: 35c

INSERT CARD

Rental: 12¢ each

(24 x 82)

LOBBY. DISPEAY'S

Write today to find out how your theatre can get this display at rea-
sonable weekly rental prices.

AMERICAN DISPLAY CO.., Inc.

525 West 43rd Street New York City

[ 22 ]

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8x10 SEPIA

$5.50 per M;
$3.00 for 500;
$1.50 for 250.

REGULAR WINDOW CARD

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SE OCIA LE aera De Tc ea.

GLOS

"x12" HERALD

Prices:
$2.25 per M = $2
5M and over ® sea M
an 5M

THREE
SHEET

Rental:
24c: each

SPECIAL QUANTITY PRIGES

ONE SHEETS
50 to. SS ee ee
100 over sccc. De

THREE SHEETS
SO te Qo ee
100 .& over: 2! 28¢

SIX SHEETS
25: t0 490 hc BOE
50. to 99.2. 44) W0e
100 'G over =. 60c

POSTERS

24. SHEETS

ONE-SHEET

Rental: Sc each

PRINTER IN U- seas

Scanned from the United Artists collection at the
Wisconsin Center for Film and Theater Research,
with support from Matthew and Natalie Bernstein.

for Film and Theater Research

http://wcftr.commarts.wisc.edu

MEDIA
HISTORY

DIGITAL LIBRARY

www.mediahistoryproject.org